Seen and Heard, International"Ward’s voice recalls that of Pears and Langridge in its
distinctiveness; he could be a useful and much needed Britten
exponent in the future. Good legato breathing supported the
emotional flow of Massenet’s En ferment les yeux (Manon) Little
outward emotion was displayed in Schubert’s Im Fruhling; instead
the text, voice and sense of variation carried all the inner meaning
most convincingly."

The British Theatre Guide"Ward’s Ottavio was a revelation, scarcely relying on gesture or
expression, he simply uncovered the great wells of music that
Mozart’s music gifts to the character. Direct, pure and clear, his
arias were the perfect demonstration that when you get it all right,
singing is acting."

Classical Source"Of the two tenors, Adrian Ward sang with attractive lightish tone.
I am always struck by a singer’s sensitivity, and in ‘Enferment les
yeux’ (Manon) he produced more of it than many ‘big names’ that
I have heard. In Schubert’s ‘Im Frühling’ he was fresh-toned and
effervescent."

Chicago Tribune"The best singing came from Adrian Ward, a lyric tenor of abundant
promise, clear and dulcet of sound, caring of words and music." Ravinia Festival - Steans Institute, Chicago.

Musical Pointers"Adrian Ward's Horace was a sheer delight of intelligent portrayal"
La Colombe at the Guildhall School

"Finally we heard another tenor Adrian Ward, who is already well known to London audiences. Another highly musical performer, with a repertoire that is expanding rapidly" Serena Fenwick (Kathleen Ferrier Final)

"Adrian Ward was the youngest singer on the platform, but already
he is showing signs of a star tenor: good looks, a voice that is
secure throughout the range, plus outstanding musicianship. His
choice of Un’aura amorosa (Cosi fan tutte) was a good one and he
presented it with palpable seductive charm."